I didn't want to make 'high' art, I had no interest in using paint, I wanted to find something that anyone could relate to without knowing about contemporary art. I wasn't thinking in terms of precious prints or archival quality; I didn't want the work to seem like a commodity.

When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera.

People think because it's photography it's not worth as much, and because it's a woman artist, you're still not getting as much - there's still definitely that happening. I'm still really competitive when it comes to, I guess, the male painters and male artists. I still think that's really unfair.

I don't analyze what I'm doing. I've read convincing interpretations of my work, and sometimes I've noticed something that I wasn't aware of, but I think, at this point, people read into my work out of habit. Or I'm just very, very smart.

I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.

I was supporting myself, but nothing like the guy painters, as I refer to them. I always resented that actually.. we were all getting the same amount of press, but they were going gangbusters with sales.

I’m really just using the mirror to summon something I don’t even know until I see it.